Victor Espinosa (Bong Espinosa)
11 artworks by Victor Espinosa (Bong Espinosa) (Selection)
Download as PDFEagle man series-Works done in Vermont Studio Center 08 • 11 artworks
Espinosa's Art as Intercultural Dialogue
by Robert P. De Tagle
At the October 2007 United Nations Dialogue[...]
Espinosa's Art as Intercultural Dialogue
by Robert P. De Tagle
At the October 2007 United Nations Dialogue on Interfaith and Intercultural Understanding in New York, Secretary-General Ban Ki-moon called on the need "to rebuild bridges and engage in a sustained and constructive intercultural dialogue, one that stresses shared values and shared aspirations."
It was during the International Decade of the World's Indigenous People from 1995 to 2004 that the UN Commission on Human Rights adopted a resolution to establish the Permanent Forum on Indigenous Issues. According to the University of Minnesota's Human Rights Center in 2003, indigenous peoples worldwide "number between 300 and 500 million, embody and nurture 80% of the world's cultural and biological diversity, and occupy 20% of the world's land surface."
Against this backdrop, Davao-based painter Victor Espinosa has just completed a fellowship at the Vermont Studio Center, where he was a resident artist along with about 20 other painters, sculptors and installation artists from around the world, along with writers.
Asked what he found of value to him at Vermont, he noted that a visual presentation he had to give to the other fellows, the administrators and the visiting mentors/critics was the most difficult for him, and yet was one of the most satisfying as well. He would, after all, like many visual artists rather work on his art than make an oral presentation. As he made them aware of the indigenous tribes in Mindanao or lumad -- about whom he collaborated with an NGO to do a story book, based on an immersion experience, in which his artwork helped beam a light on their customs, way of farming, and their plight – there was silence in the room as they were touched by his presentation, then expressed a respect for these tribes and to his vision.
Known as Bong, Espinosa is a member of Artisthood, a vibrant cooperative of Davaeño visual artists whose other members have previously attended the Vermont Center program, including Edgar Carreon and Ben Bañez, both in New York, and Philip Somozo. Together, they also held an exhibit of Artisthood at the Philippine Center in 2006, which I was fortunate to cover, initiating at that time a friendship with these talents.
At a special private exhibit in Orange, NJ, called Kagikan or "origins," Bong presents works from 2003 to 2008, including a piece he completed in Vermont that one may think of as a counterpart to the richly designed and intensely hued Gobelin tapestries from Paris, showcasing the themes of indigenous peoples, the preservation of heritage, and what the UN has focused on, promoting "interfaith and intercultural dialogue."
Speaking with the patron and collector Dr. Loretta Osakwe, the interfaith link was evident to me as she recounted her contacts with the artist resulting from her work and participation at conference on Muslims in Thailand and Mindanao.
Espinosa, growing up in Davao, and being exposed through the storybook project on the indigenous peoples (or IP), is well aware of their condition, and the importance of cross-cultural dialogue in the lives of the populace, one that goes beyond bureaucratic policy papers or political statements. That empathy for the customs and way of life of the 'natives' of Mindanao gives these works immediacy and impact.
Interestingly, some of the non-Filipino attendees at the exhibit, perceived a strong link with these works that are decidedly 'Asian.' Espinosa moves between the genres of symbolism and surrealism, as in the 2004 works 'Sustenance' and 'Flourish'; in this current show, his art as an expression of a specific people – folk art- comes to the fore. His works made the finals of the 2002 International Symbolist Art Competition and the 2000 Winsor & Newton Worldwide Millennium Competition.
His art is on display in Orange through the end of May. For more information, email .
Robert P. De Tagle, MBA, an editorial consultant, writes on business and art events; .
by Robert P. De Tagle
At the October 2007 United Nations Dialogue on Interfaith and Intercultural Understanding in New York, Secretary-General Ban Ki-moon called on the need "to rebuild bridges and engage in a sustained and constructive intercultural dialogue, one that stresses shared values and shared aspirations."
It was during the International Decade of the World's Indigenous People from 1995 to 2004 that the UN Commission on Human Rights adopted a resolution to establish the Permanent Forum on Indigenous Issues. According to the University of Minnesota's Human Rights Center in 2003, indigenous peoples worldwide "number between 300 and 500 million, embody and nurture 80% of the world's cultural and biological diversity, and occupy 20% of the world's land surface."
Against this backdrop, Davao-based painter Victor Espinosa has just completed a fellowship at the Vermont Studio Center, where he was a resident artist along with about 20 other painters, sculptors and installation artists from around the world, along with writers.
Asked what he found of value to him at Vermont, he noted that a visual presentation he had to give to the other fellows, the administrators and the visiting mentors/critics was the most difficult for him, and yet was one of the most satisfying as well. He would, after all, like many visual artists rather work on his art than make an oral presentation. As he made them aware of the indigenous tribes in Mindanao or lumad -- about whom he collaborated with an NGO to do a story book, based on an immersion experience, in which his artwork helped beam a light on their customs, way of farming, and their plight – there was silence in the room as they were touched by his presentation, then expressed a respect for these tribes and to his vision.
Known as Bong, Espinosa is a member of Artisthood, a vibrant cooperative of Davaeño visual artists whose other members have previously attended the Vermont Center program, including Edgar Carreon and Ben Bañez, both in New York, and Philip Somozo. Together, they also held an exhibit of Artisthood at the Philippine Center in 2006, which I was fortunate to cover, initiating at that time a friendship with these talents.
At a special private exhibit in Orange, NJ, called Kagikan or "origins," Bong presents works from 2003 to 2008, including a piece he completed in Vermont that one may think of as a counterpart to the richly designed and intensely hued Gobelin tapestries from Paris, showcasing the themes of indigenous peoples, the preservation of heritage, and what the UN has focused on, promoting "interfaith and intercultural dialogue."
Speaking with the patron and collector Dr. Loretta Osakwe, the interfaith link was evident to me as she recounted her contacts with the artist resulting from her work and participation at conference on Muslims in Thailand and Mindanao.
Espinosa, growing up in Davao, and being exposed through the storybook project on the indigenous peoples (or IP), is well aware of their condition, and the importance of cross-cultural dialogue in the lives of the populace, one that goes beyond bureaucratic policy papers or political statements. That empathy for the customs and way of life of the 'natives' of Mindanao gives these works immediacy and impact.
Interestingly, some of the non-Filipino attendees at the exhibit, perceived a strong link with these works that are decidedly 'Asian.' Espinosa moves between the genres of symbolism and surrealism, as in the 2004 works 'Sustenance' and 'Flourish'; in this current show, his art as an expression of a specific people – folk art- comes to the fore. His works made the finals of the 2002 International Symbolist Art Competition and the 2000 Winsor & Newton Worldwide Millennium Competition.
His art is on display in Orange through the end of May. For more information, email .
Robert P. De Tagle, MBA, an editorial consultant, writes on business and art events; .
""Inter cultural dialogue 1 & 2""
Not For Sale
"The Bagobo man goes to Vermont, New Jersey and New York-USA"
Painting
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""Fruits of Labor" is under the private collection of Mrs.Juanita Arthur-El"
Painting
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""TROPICAL ROOTS" Nature's Love Affair"
Painting
Not For Sale
"JOURNEY_this_eagle_man_is_so_ambitious.jpg"
Painting
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"This artwork is under the collection of Mr. Malcolm Pullian of NJ-USA"
Painting
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""SESLONG"a native word which means to gather around in thanksgiving for the abundant harvest"
Painting | 1.6x2.4 in
On Request
"SYMBOL_OF_EXCELLENCE_the_philippine_eagle_is_the_s.jpg"
Painting
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"ARTIST_GUIDE.jpg"
Painting
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"This artwork is under the private collections of NY-based Writer Robert Perez De Tagle and Artist Ma"
Painting
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"EAGLE_MANS_NEST.jpg"
Painting
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Contact Victor Espinosa (Bong Espinosa)
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